'Chains Unlinked' Exhibition Installation, Part Four: Sculpture Goes Up

'Chains Unlinked' Installation, Part Four: Sculpture Goes Up

7/20/2015

The final day of installation started with clean-up. Tarps came down, drapery went up, then we spent hours getting the unlinked chains up and their positioning and angles fine-tuned.

At day's end we were done; it only remained for the professional installers to light everything so you could see it properly. They did a great job! In fact the difference between how it looked when we left and after they lit it was an object lesson in the importance of properly lighting a show. I've been in shows where some of the work had half (if that) of the light it actually needed.

One major improvement that occurred with proper lighting was that the white layer of drawing on the drapery panels become visible where in low light only the black layer could be seen easily.

The Art Gallery of Mississauga's 'Walk the Talk' event is coming up and includes a tour of all three shows and informal talks from some of the artists, including me.

I will talk about how I layered up a kind of evolution of meaning and experience while keeping things thematically tight yet physically airy in a small space. I may also talk about taking on projects that risk failure to stimulate my own growth and creativity.

Bring your questions and observations and we'll have an interesting discussion about it.

Please join me:
Saturday, July 25, 2015 at 1pm
Art Gallery of Mississauga (click on name to go to their page)

P.S. The time-lapse below is a bit too fast. I'll try to improve it when I edit the whole installation process into a single video.

Looking through the "un-links"; detail of installation view. Artwork pictured: "Chains Unlinked"; "Can't Get In / Can't Get Out 2" video; "Boxed In #21" temporary mural drawing; all by Kim Lee Kho. Photo by Toni Hafkenscheid, 2015.

If you missed an earlier post about this installation,
just click on one listed below:
'Chains Unlinked' Mural Part Three: It All Starts Coming Together!
'Chains Unlinked' Mural: New Face & Hand & Adding Darks
'Chains Unlinked' Mural: From Diagram to Drawing, Part One
'Chains Unlinked' Day 5: the Installation is Done!
'Chains Unlinked' Day 4: Drawing Complete, Installation Begins
Chains Unlinked' Day 3: Drawing Almost Done!
Day 2: Wall Drawing for 'Chains Unlinked' Exhibition (updated)
'Chains Unlinked' Installation Day One Complete!

4 Comments

L.PPatton

7/26/2015 04:15:31 am

Kim Lee Kho: The way you present your ideas using conventional and unconventional materials that acknowledge high tech and low tech techniques intrigues me. 'Really liked the silent video work. With the squash and tennis players making noises in the other rooms, they seem to speak to and for the person who was pressing on the chain link. What a curious serendipity!
The way you play with words and concepts that focus on boxes and barriers and perimeters is provocative and thoughtful. Essentially your work seems architectural. Is this true? And if so, where does Nature and the Environment fit in all this musing with all this team effort that is almost always required for such witty work?
Another question: Are you inspired by the work of the famous "wrappers" of Bridges and Parliament Buildings in Europe, the man and wife team from New York, who also relied on teams of good will support?
Known as "Christo", his most recent assembled piece was a fabric construct that resembles a "Cloud" that people could enter and walk around in to view inside and outside.
For him, an allegorical place of shelter perhaps.
What Sky inferred?

Kim Lee Kho

7/26/2015 08:08:43 am

Hi L.P.,
Thank you for taking the time to write such thoughtful and thought-provoking comments!
Although I don't consider Christo and (the late) Jeanne-Claude as a primary influence, there is no doubt I have been interested in their work since first encountering it as a young teenager in the New York Times magazine. I have always really appreciated that kind of thinking about form, materials, scale, and situating art in the world so that the general population encounters and considers it.
My current show definitely has architectural qualities to it in that I have designed and shaped a space, used materials that react in certain ways to light, and played with the limitations of the physical space of that room by keeping the feeling airy but making the work very vertical so it has a kind of relationship (on a MUCH smaller scale) to a Gothic cathedral.
Yesterday I actually had the feeling as I looked up in the room that it would be interesting to consider ideas that relate to Baroque cupola/dome paintings in churches. Don't know if that will go anywhere though.
Nature and Environment are not part of this stream of work yet, though on the drawing board there is connected work that is about the barriers that interfere with natural migration patterns of animals and people; once again both the physical and non-physical constraints.
Re: sounds from the other work, it is so interesting what you say, which points to the magic of juxtaposition; our brains can make such interesting connections when unrelated elements are put together like that.
So glad you mentioned that recent piece by Christo 'Big Air Package'. His tall fabric-lined space, the way the white fabric reacts to the light, the airiness, all qualities shared (though on a much grander scale) with my little installation.
Re: "shelter", also something I am interested in. I've only dipped my toe in really, particularly with my plexiglas house sculptures, but there is plenty more on this theme "on the drawing board" :-) Christo's piece feels to me like a spiritual space, an uplifting place that shelters something deep within us.
Lots to think about. Thanks very much for sharing your thoughts!
Cheers, Kim

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'Chains Unlinked' Installation, Part Four: Sculpture Goes Up

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